Aliza Shane’s new play, “Mein Uncle,” is loosely based on the relationship between Hitler and Geli Raubal, his half-niece, with whom he was sexually obsessed. The play, which is more fantasy than history, asks whether the abuse of power in a relationship can have repercussions that extend into the wider world. “Mein Uncle,” which began performances this week, runs through June 8 in the East Village.

Many Holocaust survivors have harrowing tales of persevering against the odds. But in few such stories does courage shine through in quite the same way as in Carrie Robbins’ multifaceted play, “The Diamond Eater,” about a jeweler who swallows his precious stones in order to retrieve them later for barter.

Inspired by immigrant-themed stories from The New York Times from a century ago, Ryan Gilliam and Michael Hickey’s new site-specific musical, “The News,” is running on street corners, parks, and other venues on the Lower East Side. As the audience members, who are wearing special MP3 players, move from one place to the next, the youthful 31-member company (ages 12 to 16) dances to pre-recorded music that only the audience can hear.

Each generation reinterprets its family history, finding new connections and drawing new conclusions. Just ask playwright Charlie Schulman and composer Michael Roberts, who crafted “The Goldstein Variations,” a new musical about three generations of a Jewish family. Like Jon Robin Baitz’s recent play, “Other Desert Cities,” the work shows how a child’s tell-all memoir opens up fault lines within the family, as different generations join the battle to defend their respective understandings of the past. It will be performed in a workshop production beginning next Monday in Midtown.

Anyone who has seen a version of the musical “Cabaret” will recall the dazzling, provocative world of the Kit Kat Club, a fictional nightclub in pre-World War II Berlin. At the top of the show, a vivacious emcee, originated by Joel Grey, beckons us inside enticingly. “We have no troubles here!” he promises. “Here, life is beautiful.”

One of the first Jewish women to break — or crash — into vaudeville, Fanny Brice paved the way for female comics from Lucille Ball to Gilda Radner. Fans of Brice will have a rare opportunity this weekend to hear four top-notch singers pay tribute to her in a mixture of solos and duets, backed by a six-piece band. “Ziegfeld Girl: The Many Faces of Fanny Brice” runs for just five performances at the 92nd Street Y, with such standards as “Second Hand Rose” and “My Man” on the program.